This Dark Night by Deborah LutzEmerald Fennell’s hallucinatory adaptation of Wuthering Heights invited us to consider Emily Brontë in one light; Lutz’s painstaking account shows her in quite another. Far from the eccentric, isolated genius, Lutz’s Brontë is grounded in her material reality, from everyday household tasks to illness and grief.
Charli XCX, Wuthering Heights ★★★★☆Emerald Fennell’s big-budget, bonk-busting adaptation of Emily Brontë’s classic novel certainly ruffled a few feathers – including mine. But the film had one saving grace, in the form of Charli XCX’s trippy soundtrack, whose songs combine the Velvet Underground’s unparalleled knack for melancholy (John Cale features on the now-viral House) with Nine Inch Nails’s industrial riffs and Charli’s own blurry, distorted vein of electronica.Taken as a follow-up to Charli’s culture-dominating 2024 album Brat, Wuthering Heights makes perfect sense – it’s the tragedies of modern life and love told through one of English literature’s most beloved stories; music you can both cry and dance to. As the 33-year-old pop star wryly put it, Cathy and Heathcliff’s romance descended into ruin “without a cigarette or a pair of sunglasses in sight,” those two items of vice being prominent symbols in Brat, which served as a chewed-up love letter to hedonism.Wuthering Heights consists of just 12 songs, clocking in under 35 minutes. But songs like Dying for You, Chains of Love and Always Everywhere pack such a punch that their conciseness never feels like a curse. (Poppie Platt)
Brockville audiences can experience Brontë: The World Without when Youth Opportunities in the Arts stages the production June 19 to 21 at the Arts Hub.Producer Deanna Powers says the play examines the lives and legacy of the Brontë sisters.The three sisters are being played by locals Sarah Paquin, Susannah Burt and Aphra Reimer-Willis with artwork from area artists as well. (Harper Cotie)
Jane Eyre, a musical by John Caird and Paul Gordon based on the seminal novel by Charlotte Brontë, has announced the lead casting for its UK premiere – 30 years on from its first bow.The production will be co-directed by Caird and Megan McGinnis. Caird previously adapted and co-directed the original production of Les Misérables in the West End and on Broadway, and most recently directed the award-winning stage adaptation of Spirited Away at the London Coliseum. McGinnis has appeared on Broadway in Beauty and the Beast, Little Women and Beetlejuice.Set to appear will be Charlie Burn as Jane and Ashley Gilmour as Rochester, with further names to be revealed.The production is set to run at Southwark Playhouse Elephant from 28 August to 24 October 2026, with tickets on sale now. (Alex Wood)
Sunday 21 - 3:20pm Jane Eyre - The Musical
Then, if you’re in the mood for something a little more romantic, but still gothic and chilling and dangerous feeling, you could check out last year’s sensation/scandal/date movie, Wuthering Heights (HBO Max). If you’re blanking, this is the one your friends were telling you about where Margot Robbie and Jacob Elordi run around in the rain and get it on. Emerald Fennell’s movies are not for everyone, though, so you might need some backup material in case you want to switch over real quick. (Dwyer Murphy)
Sure, it takes enough liberties with the original source material that it might make an Emily Brontë nerd's head explode. Still, it's impossible not to be pulled in thanks to director Emerald Fennell's sumptuous vision and Margot Robbie and Jacob Elordi's hot-blooded performances. They play childhood pals whose relationship turns quite complicated as adults when they begin a torrid love affair full of betrayal and resentment. (Brian Truitt)
The classic novel comes to life on the big screen once again, this time from Promising Young Woman and Saltburn director Emerald Fennell, and with Margot Robbie and Jacob Elordi in the lead roles. Fennell, an Academy Award winner for her work on Promising Young Woman, has both big fans and big detractors at this point—but her take her, while book purists haven't been thrilled, is a big, visually stunning epic romance. Robbie and Elordi are both up to the task as well, bringing a charged energy to roles that really need it. Alison Oliver, who recently shined on HBO's Task, is another major highlight in a supporting role. An original soundtrack from Charli XCX helps to set the anachronistic mood and feels like a real cherry on top. (aEvn Romano)
Gold Derby interviews the actress Fiona Durif:
Debra Birnbaum: What's the craziest fan theory you've seen or read?F.D.: Oh, I'm going to have such a boring answer to this! I'm really careful not to read too much fan stuff, because I feel like I have to keep this bubble going that I'm in so that I don't get self-conscious. Oh, wait — Robby and Whitaker's unconscious love affair. They're like Wuthering Heights, you know what I mean? They're yearning for each other, but can't quite make it happen. I enjoy that. It's also a great joke on set. We really get a lot out of it.
A Council has issued stinging criticism of a statutory consultation carried out over controversial proposals to build a giant windfarm on peatland between Haworth and Hebden Bridge.Calderdale Energy Park’s statutory consultation is not up to standard and should be done again, says Calderdale Council.In a highly-critical response to the Calderdale Energy Park (CEP) consultation over its plans to build 34 giant wind turbines on Walshaw Moor, Calderdale has requested the developer starts again.CEP rejects the criticism and says the consultation was carried out in line with planning legislation requirements and its own statement of community consultation.The company has already extended a deadline for some people to resubmit their responses to the consultation into early July due to a glitch.The site is on Calderdale moorland, located between Hebden Bridge and Haworth, the village associated with the Bronte sisters, but the council will not decide whether the proposals can go ahead.
Diario Yaqui (México) also briefly discusses the film.
Saturday, June 13 2026, 2:30pmFletton House, Oundle, Peterborough PE8 4JA, United KingdomDr Diana Hallam examines the destructive passion between Catherine Earnshaw and Heathcliff that lies at the core of 'Wuthering Heights'. Bronte's brooding Gothic novel weaves themes of love and obsession, jealousy and revenge, social class conflicts, and the supernatural, set against the evocative backdrop of the wild and rugged Yorkshire moors.Dr Diana Hallam is an Oxford graduate and experienced English teacher and lecturer, with the skill to draw out interesting themes and new viewpoints from well-loved texts.Join us for a wonderful afternoon of literature as we celebrate this classic book, with the addition of hot drinks and a selection of homemade cakes.Doors open at 2pm for refreshments, the lecture begins at 2.30pm.
Emily Brontë did not care about being likable.She was described as introverted, odd, guarded to the point of taciturnity, and her “extreme reserve seemed impenetrable,” said her friend Ellen Nussey. “Except to go to church or take a walk on the hills,” wrote her sister Charlotte, “she rarely crossed the threshold of home.”Her one published novel, the darkly Gothic “Wuthering Heights,” was met with bafflement, but has come to be regarded as a work of genius, and Brontë is also today considered a poet of unusual power. This, combined with her early death and sparsely documented life, has led to a public image as a farouche outsider artist leaping around the Yorkshire moors like a Victorian Kate Bush.As the scholar Deborah Lutz writes in her engaging new biography, “This Dark Night,” it’s not quite that simple. Emily was indeed a knotty character of “devilish ferocity,” but she was also informed, engaged, even cosmopolitan in her reading and outlook.Emily left behind tantalizingly little ephemera. Much of this biography ends up being speculative. But by drawing on a wide range of contemporary sources, the author is able to evoke the comets and heat waves her subject would surely have experienced; the local suicides she would doubtless have read about; the inn where she conceivably might have stayed. No detail goes unaccounted for, from (probable) feminine hygiene practices to (likely) interaction with a mesmerist.Lutz pulls off this sometimes tricky approach with élan, partly because she isn’t wedded to one thesis. (Sadie Stein)
Charlie Burn and Ashley Gilmour are set to lead the cast of “Jane Eyre,” the musical by John Caird and Paul Gordon, when the show makes its U.K. premiere at Southwark Playhouse Elephant in London.The play opens Aug. 28 and plays through Oct. 24.Burn, who recently starred as Cady Heron in “Mean Girls” at the Savoy Theatre and has played Cosette in multiple productions of “Les Misérables,” will take on the role of Jane. Gilmour – currently in the West End run of “The Phantom of the Opera” and previously the lead in the U.K. and international tour and West End production of “Miss Saigon” – will play Rochester.“I’m so honored to be joining the cast of the U.K. premiere of ‘Jane Eyre,’ a sweepingly beautiful musical that brings one of literature’s most beloved female icons to life,” Burn said. “The opportunity to work with theatrical royalty like John Caird, Paul Gordon and Megan McGinnis is incredibly special, and I can’t wait to get started.”“It’s hugely exciting to join the cast of this wonderful musical, marking the first time it has been seen on U.K. stages,” Gilmour added. “Playing alongside the great Charlie Burn is set to be a thrill and I can’t wait to bring this epic story to the intimate setting of Southwark Playhouse, Elephant.”The production will be co-directed by Caird, the Olivier and Tony Award-winning director who adapted and co-directed the original “Les Misérables” for the West End and Broadway and most recently helmed the stage adaptation of “Spirited Away” at the London Coliseum. He will share directorial duties with Megan McGinnis, the Broadway actress known for “Beauty and the Beast,” “Little Women” and “Beetlejuice.”The musical – based on Charlotte Brontë’s novel and tracing Jane’s path from orphaned childhood to independence, set against the gothic atmosphere of Thornfield Hall and her relationship with the conflicted Rochester – originally premiered in Toronto in 1996 before transferring to Broadway in 2000, where it received five Tony Award nominations. The Southwark production is being staged in the show’s 30th anniversary year and is produced by Adam Blanshay Productions in partnership with original Canadian producers David and Hannah Mirvish. (Naman Ramachandran)
Greeted by a Jane Eyre in drag offering us biscuits, we took our seats in the Bread and Roses Theatre, transformed for this night into the community hall, hosting the first ever Jane Eyre Convention. Describing itself as an "ill advised enactment of Charlotte Brontë's Jane Eyre", we were served up a performance where four actors played out the main scenes from the more than excellent novel by Charlotte Brontë.Perhaps the instruction to familiarise ourselves with the emergency exits, like those of a cabin crew just in case the flight hits some shaky patch or worse, was not exactly a metaphor but more a warning of where to run to if the show should crash and burn. For a comedy the night was surprisingly silent and short of laughs. Was it because of the references to dealing with some of the cast member's issues and neurosis, dealt with in a heavy or clumsy way. We were also reminded that this was a story of survival and it was easy to empathise with Jane's plight if you were in the audience that night.It was easy to get the feeling that this play didn't really make the most of the massive amount of material from the novel. It had a fair attempt, and at a running time of just over an hour, you could be forgiven for thinking this was not everything the writer has to offer. The stark difference between attitudes towards many things from the period and the way the modern world would shred, criticise or destroy those opinions now-a-days was not entirely exploited. This major difference in the way people view the world could have been used, whether PC or not, to produce something more dynamic and funny; but it all depends on the amount of reverence you have for the source material. Though I have never thought parody or just crude piss-taking was ever a show of disrespect for the creator but more an expression of the writer's taste or even an intimate peep into their psyche.On the other hand, the set, costumes and props gave it what I hope was a deliberate aura of tacky "am-dram" and in a way this worked well to adhere to it a certain amount of charm. It tried to get immersive by getting the audience involved by offering them broken "bickies" at half time, and the opportunity to join in by wearing a stupid-looking, though I know, historically accurate bonnet. But it was, for some reason, difficult to get fully committed to the whole thing.Like Dickens and many other titans of the Victorian Novel, Charlotte Brontë provides us with a text that is crammed with more than enough unbelievable twists of the story line, strange characters who turn up for the strangest of reasons, bazaar coincidences that revive what was looking like a derailed plot and so much other stuff to play with that it was a little sad that this wealth of material was not used to its utmost potential. Maybe a rethink is needed, or some additions, some more dynamic acting might make this into a better play and something worth seeing but at the moment it isn't much more than a really nice idea with some dedicated hard-working actors doing their best with what was at hand. I hope this isn't too harsh a comment to make and I hope it is just me who was disappointed. (Robert McLanachan)
Not really a convention at all, but Jane Eyre done quickly. And unfortunately, even though the show lasts barely an hour, not quickly enough. Four Charlotte Brontë stans, donned in bonnets and frocks, meet to enact the famous story of Jane and her relationship with gruff Mr Rochester. The premise may sound promising, but it’s undone by some very unfunny jokes and poor character development.Welcoming the delegates with lanyards and Brontë biscuits, Prof Jane, Jeff Jane and Charlotte Jane begin proceedings only to be interrupted by a latecomer, Jane Air, who knows nothing of the book at all and is only there because her name is almost the same as the titular heroine. This new arrival is brought on stage to help with the retelling.Writer Eleanor Zeal plays Prof Jane, the slightly bossy chairman of the society. Ben Everett Riley is Jeff Jane, who still smarts from his father’s many absences when he was growing up. Charlotte Jane, whose parents are from Jamaica, is played by Georgia Jackson, while Rachel Overd is Jane Air, who confides early, much too early, that her boyfriend is abusive.With such a title, the show surely will attract audiences who are well aware of the identity of the woman in the attic and the subsequent postcolonial readings of the Gothic novel. But the cast does nothing new with these ideas, and Charlotte Jane, eager to highlight the racism within the novel, comes across as overly earnest, a bit of a killjoy. With an unnecessary joke about dyslexia and a panic attack scene involving a Gregg’s paper bag, Jane Eyre Convention struggles to find the right tone.The actors try their best, but the script is thin, the slapstick heavy-handed, and the backstories insultingly weak. Of course, they are acting as amateurs, but even amateurs who love the source material as much as these people apparently do would have better ideas. Brontë deserves better. (Richard Maguire)
8. 'Wuthering Heights'Sure, it takes enough liberties with the original source material that it might make an Emily Brontë nerd's head explode. Still, it's impossible not to be pulled in thanks to director Emerald Fennell's sumptuous vision and Margot Robbie and Jacob Elordi's hot-blooded performances. They play childhood pals whose relationship turns quite complicated as adults when they begin a torrid love affair full of betrayal and resentment. (Brian Truitt)
Bless you, Margot Robbie, for fuelling the trend for weird Victorian jewellery.For the London premiere of Wuthering Heights (2026), the actor wore a bracelet made from human hair. It was a museum-quality replica of a bracelet once owned by Charlotte Brontë and probably woven from the hair of her sisters, Emily and Anne. The original is now in the Brontë Parsonage Museum. Emily Brontë, author of the novel that inspired the film, died in 1848.Anne died five months later, but Charlotte, the last surviving sibling, lived for six more years. She would have commissioned and worn the bracelet as a way of remembering the dead. The replica was woven by Wyedean Weaving in England. It’s beautiful and creepy in equal measure, as is the film.
Charlotte Brontë spent an unhappy few months in 1839 on the outskirts of Skipton in North Yorkshire, as governess to the unruly children of John Sidgwick, a wealthy cotton mill owner in the town.Charlotte wrote to her sister Emily that she found the countryside, which is close by the Yorkshire Dales, to be “divine”. But the scenery did not make up for the misbehaviour of the Sidgwick children, whom she found to be “riotous, perverse, unmanageable cubs”. Charlotte did not keep her job long, but she would have seen Skipton as it entered its Victorian heyday, with the chimneys of mills sprouting everywhere, a busy canal linking the town to Liverpool and Leeds, and a big sheep and cattle market in the town centre.Nearly two hundred years after Charlotte was in Skipton, the mills are gone, demolished or converted to other uses, with only one chimney still standing. But the market in the broad high street in the town centre still takes place four days a week, though the cattle and sheep part has moved to a big facility on the edge of town, while the barges on the canal cater for tourists instead of transporting raw cotton, coal and stone from the quarries. As for everyday life, a survey by the property website Rightmove found Skipton to be “the happiest place” to live in the UK, though as Charlotte Brontë knew all too well, happiness is very much a matter of personal circumstance. (Patrick Cockburn)
-¿Crees que la literatura puede contribuir a preservar la memoria de los territorios rurales?-Lleva siglos haciéndolo. Muchas veces conocemos mejor un paisaje por los escritores que por los geógrafos. Pensamos en la Asturias de Clarín, en la Castilla de Delibes, en la Galicia de Emilia Pardo Bazán o en el Yorkshire de las Brontë. La literatura conserva voces, costumbres, formas de hablar y maneras de entender el mundo que de otro modo desaparecerían. No sustituye a la historia ni a la documentación, pero guarda algo igual de importante, y me refiero a la experiencia humana. (Ana Artero) (Translation)
Sat 13 Jun, 1:00pmBrontë Event Space in the Old School RoomThis interactive workshop will introduce you to the basic techniques and equipment of bobbin lacemaking. You will start by learning how to wind bobbins, and then you’ll practice the basic stitches (whole stitch and half stitch) and combine them for different effects. You’ll have individual support and be able to take home your creation at the end. The workshop is aimed at those with no prior experience of lacemaking. All equipment will be provided.Catherine Lillie is a Lacemaker and Educator and is currently a Trustee for Heritage Crafts. Through her work she aims to revive the endangered craft of bobbin lacemaking through participation and teaching. In 2025, she conceptualised, created and curated the '#40lacestitches' project for the Wolds Lacemakers, a video stitch bank of common bobbin lace techniques which supported access to learning the craft.Examples of her work, tutorials on lacemaking and posts on lace and lacemaking are on her website https://catternlace.com
As a reviewer, it doesn’t pay to make overly quick judgments. However, within minutes of Jane Eyre Convention opening, I had come to the firm conclusion that the team behind the show had picked a difficult book for a comedy parody. Jane Austen lends herself to the amusing because she is often a quick-witted, funny writer herself. In comparison, getting laughs from Charlotte Brontë’s doom-laden gothic romance feels peculiarly like hard labour.However, the valiant cast of four (Eleanor Zeal, Ben Everett Riley, Georgia Jackson and Rachel Overd) throw themselves into the task with unfazed, drama-school-level enthusiasm. This isn’t a criticism. I love drama school energy. It certainly carried the room in this case, on an otherwise quiet Tuesday night in Clapham. Playing guileless attendees at a Jane Eyre reenactment society meeting, the foursome tackle everything fearlessly, including occasional clumsy hints at a Gen Z world beyond a safe literary space. Controlling, violent boyfriends, ADHD, absent dad trauma, race, and post-colonial reflection all pop up briefly. Some references seem flippant. Others unnecessary. This only becomes a real problem with gender politics. Riley, as the only guy in the cast, is sometimes asked to embody misogyny and decry it at the same time. It’s just a bit of a mess that fails to land, either as humour or serious commentary. Not everything needs a contemporary eyebrow raise, and, perhaps, Rochester is allowed to just be a sexy older man.Clunky missteps aside, it is all a jolly romp with plenty of good gags. I enjoyed, at various times, the embodiment of the moon, Rochester’s slightly camp horse, running (or walking fast) across the moors, and death by tuberculosis. I warned you, all very doom-laden and gothic. The team gets through the novel that many of us recognise from school curricula at a pace. It’s a book that Zeal, who writes as well as stars, obviously loves in detail. The most effective moments are undoubtedly when Brontë’s words are quoted directly, unadorned. Passages are surprisingly theatrical. It left me a bigger fan of the Haworth writer’s work than I was before. Job done, then I guess.For me, Jane Eyre is best represented by the 1943 film starring Orson Welles. Others will love the 2011 film with Mia Wasikowska and Michael Fassbender. Many might turn to director Sally Cookson’s mighty version that landed at the National Theatre in 2015. Realistically, Jane Eyre Convention is not going to trouble anyone’s list of definitive versions. But if you enjoy the book, there is probably sufficient fun to be had among fellow fans here. Knowing that classic works of literature catch the eye in a festival programme, I reckon this is a show with an exciting future at Edinburgh, where, fortunately, it appears it is heading after this Clapham run. (Mike Carter)
Coming off Fall 2026 fashion month this past March, we were left with a lingering, wistful feeling of romance. The Wuthering Heights press tour was in full swing, and there seemed to be a startling overlap between the subverted feminine tropes playing out onscreen and those walking down the runways. [...]And, of course, Wuthering Heights ties a bow around it all: a romance novel turned film with a fashion-forward press tour in which lead actress Margot Robbie, styled by Andrew Mukamal, took to international red carpets in Dilara Findikoglu corsets cinched up tight. [...]In Forbidden Fruits, the four main characters host a séance in frilly Rodarte dresses embellished with lace and ribbons. The costumes may conduct a romantic feel, but the plot does not—someone's about to get initiated into a cult. Wuthering Heights may look romantic but it doesn't really feel romantic. Each is provocative in its plotline, heart-wrenching, scary, even gross, at times despite the overt presence of ribbon and corsetry. Whereas releases like Office Romance or People We Meet on Vacation (based on a romance novel) feel more like romance in substance if not costume. Is something romantic purely because it has a Victorian element? Or because it takes place on the moors of England? "I got an Instagram ad for these dresses that literally looked cut-and-paste from the set of Wuthering Heights, and I think that's when people miss the mark," Biga posits. "Can you imagine somebody wearing a whalebone corset in Prospect Park? They would look like they were in a play." (Camille Freestone)
Wuthering HeightsBy Emily Brontë (1847)2. In her story of ill-starred lovers and class divisions set on the bleak moors of Yorkshire, England, Emily Brontë creates two contrasting visions of home. Catherine Earnshaw, raised in the “disorderly, comfortless” gothic abode of Wuthering Heights, is seduced by the refinement of the neighboring Thrushcross Grange, “a splendid place carpeted with crimson.” She transforms herself from “a wild, hatless little savage” into a lady, which estranges her from her childhood companion and besotted admirer, Heathcliff, a foundling who lives with her family. Losing Catherine to Edgar, the heir of Thrushcross Grange, prompts Heathcliff, the perpetual outsider, to vow vengeance; he maneuvers to gain financial control of both houses with the aim of destroying each one’s inhabitants. “The more the worms writhe, the more I yearn to crush out their entrails.” Brontë subjects her characters to the competing influences of the two houses; those who venture too close to the Heights—such as Catherine’s daughter, years later—get sucked into the abject darkness within. Heathcliff is unable to find solace in either mansion. For him, home can only be one shared with Catherine, and he must escape his earthly bonds to unite with her spirit. (Manil Suri)
When people talk about reading classical literature, they often talk about it as if it were a kind of cultural passport, a document you must get stamped with Dickens, Austen, the Brontës and Hardy before you’re allowed to pass through the gates of polite society. Admit that you haven’t read Bleak House or that you stalled halfway through Jane Eyre, and you can watch their expressions shift from surprise to a faint, pitying amusement.Yet the same people who treat nineteenth-century fiction as a universal benchmark will, without hesitation, dismiss the great scientific works of the same era as unreadable, irrelevant or impossibly dense. They will recoil at the idea of opening Darwin’s Voyage of the Beagle or The Expression of the Emotions in Man and Animals, even though these books were written for general readers and sold in their thousands to ordinary Victorians who had less scientific training than most of us today. (James Williams)
Nazem DaradkehVerlag Unser WissenISBN-13 : 978-6209995224May 2026Der freudsche Ansatz ist eine Methode zum Lesen und Verstehen literarischer Texte. Durch seine Anwendung auf literarische Texte lassen sich Figuren und ihre Psyche im Verlauf der Handlungen in den Romanen analysieren. Dieses Buch untersucht die Rolle von Natur und Gesellschaft, die die Psychologie der Figuren kontinuierlich verändern. Dieses Buch analysiert, wie das Leben die Figuren im Roman beeinflusst und wie die Figuren mit verschiedenen Situationen und Orten umgehen. Sie sind auf der Suche nach Leidenschaft und Liebe. Dies gelingt ihnen jedoch nicht aufgrund von Kämpfen, Auseinandersetzungen und Konkurrenz im Streben nach der zweiten Hälfte ihres Herzens. Liebe und Leidenschaft sind die Ursachen für seelische Leiden. Diese sind schlimmer als körperliche Leiden. Dieses Buch analysiert die leidenschaftliche Liebe und ihren Einfluss auf die Veränderung der Psyche der Figuren entsprechend der Kontrolle über deren Persönlichkeit. Es kann sich dabei um das Es, das Ich oder das Über-Ich handeln. Dieses Buch erläutert diese Liebe in "Wuthering Heights", das Emily Brontë (1818-1848) 1847 verfasste. Es untersucht die Gründe, die zwischen den Liebenden bestehen und zu Kämpfen, Hass und Konflikten zwischen den Figuren führen. Die Untersuchung der Psychologie der Figuren ist für die Analyse ihrer Einstellungen von großer Bedeutung.
Keighley and Ilkley’s MP, Conservative Robbie Moore, has reminded people on his social media pages that the deadline for people to submit their views is fast approaching.Mr Moore, who opposes the plans, said he has formally submitted his own response.He reminds people they have until until 23.59pm tomorrow, Wednesday, June 10, 2026 to submit their response to the statutory consultation.Mr Moore says people can submit their objection by emailing your response to info@calderdaleenergypark.co.uk, or submit via post to Freepost, Calderdale Energy Park – for postal submissions, they will allow a seven‑day grace period after the consultation closes.The link to the consultation can be found at https://www.calderdaleenergypark.co.uk/have-your-say/Mr Moore said: “This proposal harms our environment, our ecology, our wildlife and bird population.“It harms our precious peatland, our peat bogs and its carbon storage potential.“It harms our heritage, our landscape, and our communities and neighbours.“The development must be stopped and I urge all to object to the scheme.”Mr Moore has been pressurising fellow MPs whose constituencies might be affected to come out against the proposals.Calder Valley MP, Labour’s Josh Fenton-Glynn, in whose constituency the site would be, has also now come out in opposition to the plans.On his social media pages, Mr Fenton-Glynn said: “I continue to have concerns about the impact of the Calderdale energy park on peat.“I believe in net zero but I don’t think we get there by damaging carbon stores.“Peatland is our Amazon rainforest and we should follow the science and protect it.“That is why I have stated my opposition in response to the consultation.” (John Greenwood)
Quantum Quill Story EditionsQuantum Quill PublishingISBN: 9798902650515Beauty becomes corruption. Love becomes obsession. Desire becomes ruin.Enter the dark heart of Gothic literature in Dark Mirrors: Gothic Obsessions, Dangerous Beauty, and the Price of Desire-a haunting collection of immersive modern retellings from the acclaimed Quantum Quill Story Editions series. Featuring cinematic reinterpretations of The Picture of Dorian Gray, Frankenstein, Dracula, Jane Eyre, Wuthering Heights, and The Fall of the House of Usher, this volume explores the dangerous tension between beauty and decay, ambition and conscience, passion and destruction.These are not abridgments, summaries, or simplified adaptations.Quantum Quill Story Editions are fully original literary reinterpretations crafted for modern readers and listeners, preserving the essential characters, emotional arcs, themes, atmosphere, and philosophical depth of the original classics while presenting them in refined, cinematic prose with modern pacing, immersive clarity, and heightened accessibility. Each edition is carefully designed to deliver the emotional power of the classics in a format that feels immediate, vivid, and deeply engaging for contemporary audiences.Inside Dark Mirrors, readers will encounter: (...)- A powerful struggle between love, secrecy, identity, and emotional imprisonment in Jane Eyre- A storm-dark tale of obsession and vengeance in Wuthering Heights
Jane EyreOriginally broadcast in 2006, this screen adaptation of Charlotte Brontë's novel charts the journey of its title character as she becomes an orphan and battles to forge a brighter future.Across four episodes, the programme takes viewers on a magnificent expedition through this timeless tale, starring Ruth Wilson in the titular role alongside Toby Stephens as Edward Rochester.The two gradually fall for one another despite his peculiar conduct and the enigmatic noises she hears echoing through the residence.It said: "A wonderful adaptation of this classic. The casting is excellent; Ruth makes a delightful and intriguing Jane, and Toby Stephens is an utterly fantastic Rochester."This is a compelling series; each episode leaves you anxious to see the next. The set designers and costume designers have excelled themselves, and the lighting in particular is superb." (Angie Quinn)
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by Natasha LesterISBN 9780593726556Published by Ballantine BooksJune 02, 2026A sheltered young woman living at the Chateau Marmont falls under the spell of a scandalous, secretive man as all of Hollywood’s glamour swirls around her—a stunning feminist reimagining of Jane Eyre from the New York Times bestselling author of The Paris Seamstress.“A clever, compelling midcentury Gothic . . . a can’t-miss read for the madwoman in all of us.”—Layne Fargo, bestselling author of The Favorites.In 1957, newly orphaned Aria Jones is sent to live with her aunt, a fading star who hides away in Hollywood’s infamous Chateau Marmont. There, two aspiring actresses, Calliope and Flitter, take the grieving Aria under their wing.But the Marmont isn’t meant for small girls with big hearts, and Aria’s first few nights reveal an insidious secret that continues to haunt her as she grows up in the hotel’s halls, where the bright lights of Hollywood cast even darker shadows. If Aria can just stay invisible and invite no trouble as she saves money, then she can leave the Marmont and live life on her own terms—alone but free.Her carefully laid plans fall apart when the hotel is bought by Theo Winchester, a reclusive rock star turned unexpected caretaker of his daughter, Adele, and unlike any man Aria has met before. To earn the last bit of money she needs to escape, Aria becomes Adele’s tutor, which brings Aria closer to Theo and ignites a passion she never expected.Suddenly, Aria finds herself wondering if she still wants to remain invisible—and if inviting trouble is a risk she’s willing to take to pursue what she truly desires.
She famously sang ‘it’s me, I’m Cathy’ in her hit song Wuthering Heights.But passers-by could be forgiven for wondering which one was the real Kate Bush as hundreds of fans wearing red gathered on Edinburgh’s Meadows to recreate the dance from the 1978 chart-topper.The annual gathering is part of the global Most Wuthering Heights Day Ever, with this the fifth time it has taken place in Edinburgh.One previous participant has been quoted as saying: ‘It takes a certain kind of person to want to frolic in a field dressed like Kate Bush – a bunch of eccentric people celebrating a wonderfully British icon.’ (Emma Newlands)
The one that made you want to become an author: Jane Eyre by Charlotte Brontë (Elise Dumpleton)
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Theatre Caddis Presentsby Eleanor Zeal, directed by Danielle ArkwrightJune 9-13The Bread & Roses Theatre68 Clapham Manor Street, Clapham SW4 6DZ, LondonJane Eyre aficionados meet in a community hall in West Norwood to reenact their favourite novel. They fight unashamedly over the best lines examining their own neuroses and histories as they go, eventually reaching the end. Opportunities for audience to join in and feel real, potentially therapeutic emotions.
After reading This Dark Night and having a lot of trouble putting it down between chapters, my biggest disappointment had nothing to do with how Deborah Lutz uniquely captured the essence of Emily. It was the tragic brevity of her literary subject’s life (1818-1848). (...)What brings this unusual and ultimately tragic family into focus for 21st-century readers is Lutz’s consummate skill at weaving seemingly mundane details of everyday life into the fabric of their creative existence. Alongside the practical necessities of acquiring a Victorian education, maintaining a place in society, dealing with youthful emotions and romances, encountering illness and death, and keeping a motherless household running, Charlotte, Emily, Anne and their only brother, Branwell, lived energetically in imaginary worlds they created and wrote about together --- not only during childhood, but also well into young adulthood.Much of their imaginative fervor, especially Emily’s, was stirred by the climate and rugged landscape of the Yorkshire moors around their hometown of Haworth. Their intellectually liberal father, Patrick, was a local clergyman who largely home-schooled the children. He would outlive not only his wife, but all six of his offspring.By drawing so deeply on the real and imaginary worlds that the Brontës simultaneously inhabited, Lutz adds meaning and relevance to Emily’s poetry, which spans her entire short life: her seeming obsession with death, graves, memorials, ghosts and the supernatural; her passion for the beauty of the night sky and contemplation of the infinite; her keen eye for the subtlest changes in the flora and fauna of the moors on which she wandered at every opportunity; and her passion for the welfare of animals. She also captures Emily’s sometimes-painful transition into adolescence and adulthood, times in which she could be both an acute observer and vocal critic of human nature and relationships (platonic and erotic).An especially endearing and often poignant element of This Dark Night is the generous amount of correspondence that Lutz includes between Emily and her sisters, friends and relatives, which not only serves to highlight the intimacy of their connections, but also brings the larger 19th-century world into their quite isolated rural environment. An important part of that wider world was the innovation of affordable rail travel that arrived in Yorkshire in time for Emily and Charlotte to journey overseas to Belgium for additional schooling, an experience that deeply influenced both their writing. (Pauline Finch)
Helen BurnsJane Eyre by Charlotte Brontë, 1847“Life appears too short to me to be spent in nursing animosity or registering wrongs,” the dying Helen Burns advises the furiously unhappy, rebellious young Jane in the opening chapters of Charlotte Brontë’s best-known novel. Helen’s pacific world view provides both moral and spiritual guidance for Jane, as Brontë’s wayward orphaned heroine negotiates her way into adulthood.Yet Jane also struggles to reconcile Helen’s submissive sensibility with her instinct to kick against compliance as a woman’s sexual and political lot. The unwaveringly good Helen inhabits one part of Jane, and Bertha Mason, Rochester’s “mad wife” whom he has imprisoned in the attic, the other. The genius of the novel lies in the way it holds these feminine contradictions in balance. (Claire Allfree)
I love Wuthering Heights from every inch of my heart. I love it with a passion that I love very few other books, and it is easily in my top three of all time. Like many others, I’d grown up thinking it was a romantic book, the pinnacle of romance really, a story between Catherine and Heathcliff.The first time I read it, I was fresh out of school, in that angsty period between school and university when life promises potential but everything is uncertain. In all honesty, I didn’t fully understand it, and I am almost certain I didn’t enjoy it either. I don’t remember feeling much, which in retrospect makes sense — I was in an all-girls boarding school for most of my teenage years and wasn’t particularly social enough to have formed any real romantic attachment outside of it.I read the book emotionally unprepared, which is to say, I came to it without having loved anyone yet. No wonder I found it disappointing. Where was the adventure? The tragedy? How much time were they actually spending together? (...)The insults in the novel were fabulous — “he’s such a cobweb, a pinch would annihilate him,” “thou saucy witch” — the characters so wickedly themselves that I found myself reading passages aloud to no one.Nevertheless, it was the central miscommunication that undid me. Heathcliff walking away two minutes before Catherine confesses that he is “more myself than I am, whatever our souls are made of, his and mine are the same.” It is almost the 1800s version of Normal People. I remember how wretched I felt, wanting to shake him. And then Catherine dies, and Heathcliff says “I cannot live without my life, I cannot live without my soul,” and there is simply nothing to be done with that.The thunderstorm, and the fool who loves himMost people who read Wuthering Heights expecting a love story come away confused and slightly betrayed. This is because it is not a love story. It is a revenge tale, and once you read it that way, the fact that everyone is so comprehensively horrible to each other starts to make a great deal more sense.The structure of the book does something interesting to the characters, particularly the first generation. The whole story reaches us third hand — Nelly Dean tells it to Lockwood, who writes it in his diary, occasionally admitting he is condensing things. Nelly herself wasn’t present for a lot of it. (Read more) (Treya Sinha)
'La inquilina de Wildfell Hall' de Anne BrontëLas hermanas Brontë fueron tres: Charlotte (1816-1855), Emily (1818-1848) y Anne (1820-1849). En el mundo occidental de principios del siglo XIX, las mujeres no tenían hueco en casi ningún ámbito, y menos aún en aquello que se consideraban tareas masculinas. Las tres tenían intereses literarios y las tres publicaron sus escritos para ayudar a su padre, que era pastor, a sacar adelante a la familia.Con menos de 30 años, publicaron relatos donde los personajes femeninos eran inteligentes, complicados y rebeldes. Emily solo publicó Cumbres borrascosas, pero sus hermanas continuaron su carrera de escritura. La más conocida de Charlotte es Jane Eyre. Anne fue una de las más olvidadas, pero cuenta con obras tan interesantes como La inquilina de Wildfell Hall.En esta novela, cuenta la misteriosa llegada de Helen Graham y su hijo a la vieja mansión Wildfell Hall. El pueblo no sabe que esta mujer realmente huye de un pasado muy turbulento. Algo que va descubriendo mientras lee su diario el narrador de la historia, Gilbert Markham, que está enamorado de ella en secreto. En el relato se cuelan opiniones y actitudes de mujeres muy avanzadas para su tiempo que lo hacen aún más atractivo. (Lidia Lozano) (Translation)
A community hall in a historic West Yorkshire village has been awarded a £74,800 grant to fix facilities which had fallen into "significant disrepair".The Local Regeneration Fund approved the money to refurbish Haworth Village Hall's toilets, which have been described as unsafe.A Bradford Council spokesperson said the works, in the village synonymous with the Brontës, were "vital to ensure the building meets safety standards and provides accessible amenities to meet the needs of the growing community". (Chris Young)
Emily BrontëTranslated by María Rosa LidaIllustrated by Isabella MazzantiISBN:La novela Cumbres borrascosas presenta una narración apasionada y sombría, donde el amor se transforma en tormento. Heathcliff, marcado por el abandono y la humillación, inicia una cruzada de venganza que alcanza a quienes más amó. Su relación con Catherine Earnshaw, llena de deseo, orgullo y desgarro, arrastra consigo a dos generaciones, en un paisaje tan salvaje como sus emociones. Esta edición ilustrada por Isabella Mazzanti añade un tono expresionista que ahonda en la psicología de los personajes.Una obra de referencia dentro de la literatura inglesa, imprescindible para quienes buscan emociones intensas y tramas profundamente humanas. Ideal para lectoras y lectores desde los 16 años, esta edición ofrece una experiencia estética y literaria única. Un regalo perfecto para redescubrir un clásico que sigue inspirando adaptaciones, debates y pasiones más allá del tiempo.
Adaptation is another driver to widespread popularity: as well as Tolkien, it powers the enduring popularity of Jane Austen, readers’ most nominated writer overall, even if Emma slipped behind a host of modern novels, including Donna Tartt’s The Secret History, Ian McEwan’s Atonement and Blood Meridian – your preferred Cormac McCarthy novel at No 28 (although The Road still ranks at 80). And perhaps the timing of film releases also provides a clue as to why Emily Brontë’s Wuthering Heights places above her sister Charlotte’s Jane Eyre. (Alex Clark)
[Tied at #26 with Charles Dickens's Bleak House]Jane Eyreby Charlotte BrontëSarah Owen, Cheshire, 54: “The first book I ever read through the night and went to work with no sleep the next day. The sun was coming up as I finished it. All of the emotions: the outrage at her treatment as a child, the hope as she made her way into the world, the repressed longing, the romantic tension, the sting of betrayal – fantastic.” [...][Tied at #14 with Hilary Mantel's Wolf Hall]Wuthering Heightsby Emily BrontëÉlise Camilla, Oxford, bookshop worker: “Gothic. Shakespearean. Dramatic. Beautiful. I’ve never loved a novel as much as this one … It changed the fabric of my being at 15 and I’ve never looked back.”
“Charlotte Brontë: Senseless Trash,” created by artist Fran Bundey, will be performed on Saturday, June 6, starting at Sapgate Gardens.The 30-minute outdoor production blends theatre, sound and storytelling into an immersive experience that guides audiences through a creative interpretation of the author’s life.Ms Bundey described the piece as difficult to categorise, combining multiple art forms into one experience.She said: “It’s sort of part theatre, part found art, part tour, and with a little bit of silent disco thrown in there as well,”The performance is designed as a promenade show, with the audience moving through the space alongside the performer while listening through silent disco headphones.Ms Bundey explained: “It’s an outdoor promenade show, so I walk around with the audience… and we do a little journey through wherever we are.”The title ‘Senseless Trash’ comes directly from Charlotte Brontë’s own writing, reflecting a moment of self-doubt early in her life.Ms Bundey said she was struck by a letter Brontë wrote after receiving discouraging feedback from poet laureate Robert Southey.She said: “[Charlotte] says she felt a painful heat rise to her face and that the first letter she sent to him was ‘all senseless trash from beginning to end’,”The show imagines the journey between that moment and Brontë’s eventual decision to publish her work, exploring how the celebrated author overcame those doubts.The performance combines historical storytelling with modern influences, featuring field recordings from the Yorkshire moors alongside contemporary music.Audiences can expect to hear “the howling winds at Top Withins” and “the tranquil trickling of nearby waterfalls”, as well as unexpected musical moments. (Jess Blissitt)
Not every love story is a romance.Some love stories—the ones rooted in reality and humanity—are also stories of the cultural fissures in a particular historic moment. They may also show us the ways lovers can sometimes clumsily harm each other, while they barely understand themselves.By reducing Wuthering Heights to a mere romance, Emerald Fennell’s recent film cheats us out of wrestling with the actual issues Emily Brontë put on the page in 1847. These issues—generational trauma, class and race divides, entrenched gender expectations, and abuse from people who love us—are still acutely relevant today. [...]If ever two characters loved each other despite personality disorders and social boundaries, it’s Heathcliff and Cathy. These people are knotted up in dysfunctions we would readily name today: narcissism, dismissive avoidance, codependency. Their story is disturbing, haunting, and beloved because of the flat-out fierceness these two characters have for each other, the consuming obsession and cruel behavior they share, and the exquisite violence of their passion for each other.Fennell’s version diminishes a tale of tortured personalities shaped by hardship, class divides, and probably racism. (Brontë describes Heathcliff as being dark and swarthy, and he’s called a “Gipsy”; that explains a great deal about why his friendship and eventual romance with Cathy were so offensive to their society.)In Fennell’s film, the tall, handsome (and white) Jacob Elordi portrays Heathcliff—which seems especially odd; Shazad Latif, a British-Pakistani actor, is cast as Edgar Linton. Margot Robbie, however, is convincingly willful as Cathy, as merciless and difficult to warm to on screen as the character is in the novel.Where Brontë critiqued the artificial cultural and social barriers people invent and insert between one another—sources of much human pain and suffering—the film neatly lops that out of the conversation.Heathcliff’s brutish rage at the injustice of the poverty he’s been dealt is simply missing here—though that’s part of what fueled him to leave Cathy, go out into the world, make himself into a wealthy gentleman, and return to destroy the prosperous men around him. With this element removed, the narrative loses much of its power. We don’t get to see Heathcliff at his wildest, exacting revenge on the class system that dismissed him and kept him from wedding Cathy. Load-bearing plot elements and essential characters are carved out of the narrative, turning the grand, searing story into a dime-a-dozen romance.There’s none of the book’s redemption here. No scene of Cathy and Heathcliff’s ghosts, wandering the moors together. No tale of Cathy’s daughter finding a more peaceful love with Hareton, who is expunged from the film entirely. No Heathcliff agonizing in guilt after Cathy dies.Set design is extraordinary in places (the fireplace mantel of carved hands!), and costumes—though thuddingly symbolic (we get it, she always wears red, she bleeds to death)—are stunning. The scene of Cathy crossing the moors in her voluminous wedding dress and veil lifted by the wind is a spectacle.Cathy seizes what power is available to her—the power of a woman to attract and use men. Far more vicious in the book, here she manipulates the attention of a rich man, denying herself the man she really loves. She breaks her own heart because of who she wants to be in life. At the same time, she exerts as much agency as her society grants her.Brontë’s story expresses a feminism of sorts, however twisted. But it’s a feminism Fennell leaves unexplored. Cathy has her own justifiable rage at her limited options in life, but the film leaves that perspective in the background.Cathy’s sort of feminism was surely central for Brontë, who created female characters pushing back against the Victorian ideals of feminine behavior that bound the author herself. (She initially published the book under a male pseudonym to bypass 19th-century prejudice against female authors.)She and her sisters Charlotte and Anne created imaginary worlds for their own entertainment, driven by their isolated lives on the bleak and remote moors. Emily wrote the book for herself, and published it only after Charlotte urged her to do so—because they needed the money. One of the most powerful love stories ever, written by a woman for the pleasure of scribbling it down, just for herself.This should be a story about damaged people loving each other savagely and without pause, finding what’s lovable and deserving in each other, despite their many flaws and obstacles. The film should have been an exploration of human passion and what binds us to one another, even in unhealthy ways. Instead, it’s much less. (Pamela Hill Nettleton)
The Australian Standing Stones will be awash with red and black this winter solstice as locals gather to channel their inner Kate Bush for Glen Innes’ first-ever Wuthering Heights Day.Organised by Shimmy in the Glen’s Helen Tucker and Lisa Wilson, the event invites people of all ages and abilities to recreate the iconic dance from Kate Bush’s 1978 hit Wuthering Heights in one of the region’s most distinctive locations.While Wuthering Heights Day events have become a global phenomenon, this will be the first time Glen Innes has joined the fun.“Lisa and I have often seen other people in other places doing it regularly,” Ms Tucker said.“We have plenty of friends that do it and we were like, ‘We must do that one year, we must do that one year.'”The idea gained momentum after a conversation with Standing Stones Management Board member John Rhys Jones.“I said, ‘We’re thinking we might do that this year,’ and he just jumped for joy,” Ms Tucker said.“He was like, ‘Yes, love it.’ And he said, ‘Please, can we do it with solstice?'”The answer was an easy one.“So we decided we would go with it.”The quirky celebration traces its roots back to the United Kingdom, where a group of fans gathered in 2013 to recreate Bush’s famous music video in an attempt to set a Guinness World Record.“Essentially it started in 2013 when a group in the UK decided that they would reenact Kate Bush’s dance from Wuthering Heights for a Guinness World Record of the most number of people dressed as Kate,” Ms Tucker said.From there, the idea spread around the globe.“Everybody just thought it sounded like such a good idea that it grew and it goes around the world.”Ms Tucker believes the singer’s enduring popularity is helping attract a new generation of fans.“I think people of a certain age certainly remember when the video came out and that it was a big deal,” she said.“But I think the fact that her Running Up That Hill song was in Stranger Things, and of course with the Wuthering Heights movie coming out this year as well, it’s kind of even the younger people know about it.”For those worried they might not have the dance moves, organisers have a simple message: don’t be.“Not at all,” Ms Tucker said when asked if participants need dancing experience.“We’ve also got some people who have already said, ‘I’m not up for the dancing, but I want to get dressed up and come anyway.’“So it’s completely up to people as to how active they are.”Participants are encouraged to wear anything red and black and simply enjoy being part of the spectacle.“We’re just encouraging as many people as possible to come along and just to wear anything red and black so that they can be part of the colour.”Free dance classes will be held at Glen Innes Town Hall in the lead-up to the event, with sessions scheduled for Tuesday, June 16 and Thursday, June 18 at 5pm, and Saturday, June 20 at 10am. Participants can attend one class or all three, and online tutorials are also available for those wanting to practise at home.The festivities will follow the Standing Stones’ winter solstice activities, including the solar noon ceremony, before dancers take centre stage at midday.“My plan is that we’ll actually do the dance and then we’ll probably play the Running Up That Hill song and run up the hill,” Ms Tucker said.“And then come back down again, maybe take a few photos and then probably do the dance again.”With organisers also hoping to capture drone footage of the colourful gathering against the backdrop of the Standing Stones, the event promises to be one of the more memorable ways to mark the shortest day of the year.As Ms Tucker puts it: “We just thought it was a bit of fun.”Wuthering Heights Day will be held at the Australian Standing Stones on Saturday, June 21, with dancing beginning at midday. Everyone is welcome. (Penelope Shaw)
by Pam LockEdinburgh University PressISBN: 9781399502221 (hardback)Ebook (app): 9781399502252Ebook (PDF): 9781399502245May 31, 2026This book explores the fictional figure of the drunkard and why it was so important to Victorian thinking about what it meant to be human. From Jos's life-changing hangover in Vanity Fair to Henchard's twenty-one-year pledge of sobriety in The Mayor of Casterbridge, habitual drunkards were defining characters in nineteenth-century novels and short stories, creating chaos, joy, comedy, suffering and often their own destruction in works by authors like Mary Elizabeth Braddon, Anne Brontë, Wilkie Collins, Charles Dickens, George Eliot, Thomas Hardy and Anthony Trollope. Fiction played a key role in Victorian political discourses about the place of alcohol in society, fuelling the battle between temperance campaigners and defenders of moderation and pleasure, as well as disseminating and challenging new medical understandings of alcohol's effects on the body and mind. By examining gendered and classed representations of drunkenness, The Drunkard in Victorian Fiction and Culture also documents how women and working-class drinkers were portrayed more harshly than their male and higher-class counterparts, reflecting wider religious and moral prejudices of the time. Pam Lock demonstrates the importance of studying literary drunkards both as evidence of Victorian attitudes to alcohol and as cautionary figures that remind us of the fragility and preciousness of life.
Part II: Gender3. The Dangers of Drink: The Brontës’ Drunken Men
6th & 7th June 2026 • 11am – 4pmThornton Art Trail returns for a vibrant weekend celebrating creativity, community and the rich artistic spirit of our village. Homes, studios and businesses across Thornton will open their doors, inviting visitors to wander, explore and enjoy an inspiring walk through our historic streets.
At the heart of the trail, the Brontë Birthplace will be welcoming visitors free of charge to enjoy the work of four exceptional local artists. Although house tours will pause for the weekend, the rooms themselves will become intimate gallery spaces filled with colour, imagination and Brontë‑country creativity.
In the Posh Parlour, artist Teresa Flavin will showcase her beautiful mixed‑media paintings—rich, atmospheric works that echo the textures and stories of the landscape.
In the Scullery, Matt Gibbons Photography will exhibit his striking wildlife and architectural pieces, capturing the character of Yorkshire’s creatures, buildings and hidden corners with warmth and precision, including his award-winning photographs of the Birthplace renovation.
SATURDAY 6th – 11am & 1:30pm
Charlotte Brontë – Senseless Trash tour
Join Charlotte Brontë on a phonic field trip over the Yorkshire Moors and listen in to the sounds that shaped the Brontë sisters’ lives. The howling winds at Top Withens, tranquil trickling of nearby waterfalls and the angelic tones of…Beyoncé will accompany you on your journey. Senseless Trash from beginning to end – don’t say I didn’t warn you.
Times: 11am (Book for 11am) and 1:30pm (Book for 1:30pm)
SUNDAY 7th – 11am & 1pm
Upstairs in Charlotte’s Room, award‑winning poet Emma Conally‑Barklem will give readings of her Brontë‑inspired poetry, bringing voice, rhythm and emotion into the very space where Charlotte herself once lived. Booking not required.
Most people arrive in Haworth for the Brontës. They walk up the cobbles, visit the Parsonage, admire the moorland view, and then leave. And that’s perfectly fine, but it barely scratches the surface. Haworth in 2026 is having a genuine moment, with Emerald Fennell’s Wuthering Heights (starring Margot Robbie and Jacob Elordi, released February 2026) reigniting global interest in the village and the moors that inspired it. Whether you’re visiting for the literary pilgrimage, the steam railway, the walks, the food, or all of the above, this guide covers everything worth knowing about one of Yorkshire’s most popular tourist spots. (Alexis Wilson-Barrett)
Manana Aslanishvili, Georgian Technical University, Georgia, manana.58@mail.ruIRCEELT 2025: 15th International Research Conference on Education, Language and LiteratureEmily Bronte was a prominent English novelist and poet of the 19th century, best known for her only novel, “Wuthering Heights”, now regarded as a classic of English literature. The novel was published under masculine pen name, Ellis Bell, in 1847. “Wuthering Heights” is a story of revenge and doomed love. It features harsh moments of cruelty and sexual passion. Although published during the Victorian period, “Wuthering Heights” deviated from the literary norms of the time as it exceptionally represented different aspects, raised diverse questions and addressed more serious issues than those that concerned Victorian era. Instead of celebrating the spirit of the Victorian age, the novel skillfully portrays and reflects more practical and vitally important aspects of people’s lives such as love, hate, revenge, personal relationships, and friendship. The novel depicts the power and passion of intense love as well as the dark and evil side of human nature. It revolves around the love relationship between Catherine and Heathcliff, the climax of which is a tragedy since the love ends up in revenge. The reunion in death of the two lovers constitutes their achievement of complete freedom and love. Though, Emily Bronte published only one novel, “Wuthering Heights” (1847), but that single work has its place among the masterpieces of English literature.
If you were confused by all the bondage and masturbation in Emerald Fennell’s controversial Wuthering Heights film released earlier this year, look no further for explanations than this quietly punchy biography of the 19th-century masterpiece’s author, Emily Brontë.In The Dark Night, we see her scribbling violent pornographic sketches in the middle of Latin translations, while her brother Branwell draws men seemingly participating in acts of group self-pleasure. The Brontës, biographer and Victorian scholar Deborah Lutz shows us, were racier than they looked.Unlike Fennell’s protagonists though, this book suggests that Emily’s interest in all this was not really erotic but more a kind of existentialist exploration of what bodies are, where they begin and end. She was obsessed with the transience of the flesh, following the early loss of her mother Maria, who died when she was just three. “These seven months with her mother in a liminal state – almost dead but still with the living – would stay with Emily,” writes Lutz. “Where did life end and death begin?” [...]“Thoughts of leaving the body behind occupied Emily,” Lutz continues. Later Emily would write in one of her best poems: “I’m happiest when most away, I can bear my soul from its home of clay.” The prospect of a soul freeing itself from its corporeal home sparks in her a sort of literary ecstasy, that is surely at the root of Heathcliff’s obsession with Catherine’s ghost and corpse in Wuthering Heights.The book is not solely focused, however, on how Emily’s experiences shaped her one and only novel. Lutz’s patient prose does not rush to a reductive affinity between her life and her life’s work. It is more interested in the siblings’ lives, how they convened and diverged. Their parents were unusually keen, for the time, on educating girls, and the house was always full of reading and writing. The young girls invented a fantasy land called Gondal ruled mostly by women, where they honed their female-centred storytelling skills. [...]Lutz writes: “The fact that these novels were all hammered out in fellowship, one mixed with competition and love would make [the idea that they strongly influenced one another] not at all surprising.”Although Lutz acknowledges the much-written-about “tussle” between the “usually reserved Emily” and her more sociable sister Charlotte (a teacher wrote that Emily exercised “a kind of unconscious tyranny” over Charlotte), she is also at pains to emphasise this “fellowship”. So often Emily Brontë is painted as singular and isolated, but what Lutz makes clear is that Wuthering Heights was written in anything but a vacuum.Lutz is intermittently hampered by a lack of actual evidence. As was common at the time, Emily’s letters were burned by her family following her death (mere months after the publication of Wuthering Heights) to protect her privacy, and there are moments where the speculations feel far-reaching: “Emily’s feelings about her time abroad remain unknown. But the experience had to have been momentous.”Still, we get a good sense of her personality, even if it is often gleaned from piecemeal sources. Yes, she is introverted, but also “intensely loveable”, writes Ellen, Charlotte’s best friend. Passionate about nature and animals, she is “a night-sky obsessive” who adopts a falcon and carries her books up to the moors, bestowing on plants an anthropomorphic sensibility (a bluebell is “a sacred whatcher”).She is ferociously intellectual but a skilled housekeeper and keen observer too of the domestic in her writing. In the end, Lutz finds, Emily Brontë was both as reserved and eccentric as she has typically been painted, but more complex too. Charlotte perhaps put it best when she wrote of her sister: “Emily loved the moors… She found in the bleak solitude many and dear delights; and not the least and best loved was… liberty. Liberty was the breath of Emily’s nostrils. Without it she perished.” (Francesca Steele)
